한국기독교 미술의 역사적 변천과 토착화 노력

저작시기 2001.01 |등록일 2003.07.10 파일확장자어도비 PDF (pdf) | 36페이지 | 가격 7,100원
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발행기관 : 한국기독교학회 수록지정보 : 한국기독교신학논총 / 21권 / 395 ~ 430 페이지
저자명 : 이정숙(Jung Sook Lee)

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Upon the recent development of concerns in Christian arts, the author thought a timely project to venture on studying Korean Christian arts. Korean Christian arts had been undertaken from the inception of Christianity in this country: for Catholics, the initial form was no more than copying western arts imported from China through some members of the suite and merchants. For Protestants the first Christian art was illustrations for a Korean version of Pilgrim`s Progress. However, throughout more than hundreds years (a hundred for Protestants) of history, a remarkable outcome had been produced in various types of Christian arts. As it has been seen in other countries, Korean Christian artists also have demonstrated some efforts to develop their own styles and contents in contrast to the traditional western arts. Although the result was not always satisfactory, their motive and efforts of indigenization of their arts are recognizable. This article attempts to define the meaning of indigenization of Christian arts first, and then to explore a historical survey of Korean Christian paintings in order to see how the idea of indigenization has sprouted up by Korean Christian artists. In the early period of Christian history in Korea missionaries were the main providers of insights for indigenization. But later, artists themselves expressed their own understanding of Christian arts through their works. It is debatable what kind of arts could be categorized as indigenized Christian arts. Therefore, it is necessary to set forth a certain rules with which we can use differentiating Christian arts from indigenized Christian arts. Indigenization in arts can be understood as adoptation and modification of styles and contents of traditional arts in tune with the characteristics of traditional or unique artistic sense of the country. Along with this basic understanding, the author suggested a few other principles of indigenization such as the spirituality and historical consciousness of artists, and excellence of their arts. In order to take a glance over the historical development of Korean Christian arts, it would be effective to demarcate time-periods, centering around historical events such as nationwide persecutions of Catholics, freedom of foreign religion, colonization, Korea War, the establishment of the Association of Korean Christian Artists, and emergence of Minjung arts. The following is the time-periods that this article sets to view the whole range of Christian art history in Korea. (1) Prior to 1880 the Introduction of Christian Arts (2) 1880s-1910 the Beginning of Korean Christian Arts (3) 1910-1945 the Initial Phase of Popularization of Christian Arts (4) 1945-1965 the individual Activities by Artists (5) After 1965 the Systematic Development of Christian Arts : the establishment of the Association of Korean Christian Artists (6) 1980s Christian Arts in reality-Challenge of Minjung Arts (7) 1990s Christian Arts in the Past-modem Period The categories above mentioned do not deal with various types of arts, but they show a few important characteristics in relation to the theme of indigenization. Before 1980s a typical form of indigenized Christian arts was to draw Korean figures and Korean traditional costumes instead of western people and their clothes. Christian traditional symbols were sometimes replaced by Korean symbols and artifacts, but contents and overall structure were remained the same as those of western Christian arts. In the beginning of 1980s political and social changes of Korean society generated Minjung arts which were totally different from the previous concepts of Christian arts. Through their art works they made serious allegations of inequality and injustice which was rampant in this society. Although their basic motive and inner content were originated from the biblical tradition, the outer content and style of their arts were borrowed mainly from Korean traditional folk arts, and sometimes from

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